"No Woman Born"

Henry Kuttner

Published in Astounding Science Fiction, Vol. 34, No. 4 (December 1944).

She had been the loveliest creature whose image ever moved along the airways. John Harris, who was once her manager, remembered doggedly how beautiful she had been as he rose in the silent elevator toward the room where Deirdre sat waiting for him.

Since the theater fire that had destroyed her a year ago, he had never been quite able to let himself remember her beauty clearly, except when some old poster, half in tatters, flaunted her face at him, or a maudlin memorial program flashed her image unexpectedly across the television screen. But now he had to remember.

The elevator came to a sighing stop and the door slid open. John Harris hesitated. He knew in his mind that he had to go on, but his reluctant muscles almost refused him. He was thinking helplessly, as he had not allowed himself to think until this moment, of the fabulous grace that had poured through her wonderful dancer's body, remembering her soft and husky voice with the little burr in it that had fascinated the audiences of the whole world.

There had never been anyone so beautiful.

In times before her, other actresses had been lovely and adulated, but never before Deirdre's day had the entire world been able to take one woman so wholly to its heart. So few outside the capitals had ever seen Bernhardt or the fabulous Jersey Lily. And the beauties of the movie screen had had to limit their audiences to those who could reach the theaters. But Deirdre's image had once moved glowingly across the television screens of every home in the civilized world. And in many outside the bounds of civilization. Her soft, husky songs had sounded in the depths of jungles, her lovely, languorous body had woven its patterns of rhythm in desert tents and polar huts. The whole world knew every smooth motion of her body and every cadence of her voice, and the way a subtle radiance had seemed to go on behind her features when she smiled.

And the whole world had mourned her when she died in the theater fire.

Harris could not quite think of her as other than dead, though he knew what sat waiting him in the room ahead. He kept remembering the old words James Stephens wrote long ago for another Deirdre, also lovely and beloved and unforgotten after two thousand years.

The time comes when our hearts sink utterly, When we remember Deirdre and her tale, And that her lips are dust.-- There has been again no woman born Who was so beautiful; not one so beautiful Of all the women born--

That wasn't quite true, of course--there had been one. Or maybe, afterall, this Deirdre who died only a year ago had not been beautiful in the sense of perfection. He thought the other one might not have been either, for there are always women with perfection of feature in the world, and they are not the ones that legend remembers. It was the light within, shining through her charming, imperfect features, that had made this Deirdre's face so lovely. No one else he had ever seen had anything like the magic of the lost Deirdre.

Let all men go apart and mourn together-- No man can ever love her. Not a man Can dream to be her lover. . . . No man say-- What could one say to her? There are no words That one could say to her.

No, no words at all. And it was going to be impossible to go through with this. Harris knew it overwhelmingly just as his finger touched the buzzer. But the door opened almost instantly, and then it was too late.

Maltzer stood just inside, peering out through his heavy spectacles. You could see how tensely he had been waiting. Harris was a little shocked to see that the man was trembling. It was hard to think of the confident and imperturbable Maltzer, whom he had known briefly a year ago, as shaken like this. He wondered if Deirdre herself were as tremulous with sheer nerves--but it was not time yet to let himself think of that.

"Come in, come in," Maltzer said irritably. There was no reason for irritation. The year's work, so much of it in secrecy and solitude, must have tried him physically and mentally to the very breaking point.

"She all right?" Harris asked inanely, stepping inside.

"Oh yes... yes , she's all right." Maltzer bit his thumbnail and glanced over his shoulder at an inner door, where Harris guessed she would be waiting.

"No," Maltzer said, as he took an involuntary step toward it. "We'd better have a talk first. Come over and sit down. Drink?"

Harris nodded, and watched Maltzer's hands tremble as he tilted the decanter. The man was clearly on the very verge of collapse, and Harris felt a sudden cold uncertainty open up in him in the one place where until now he had been oddly confident.

"She is all right?" he demanded, taking the glass.

"Oh yes, she's perfect. She's so confident it scares me." Maltzer gulped his drink and poured another before he sat down.

"What's wrong, then?"

"Nothing, I guess. Or... well, I don't know. I'm not sure any more. I've worked toward this meeting for nearly a year, but now--well, I'm not sure it's time yet. I'm just not sure."

He stared at Harris, his eyes large and indistinguishable behind the lenses. He was a thin, wire-taut man with all the bone and sinew showing plainly beneath the dark skin of his face. Thinner, now, than he had been a year ago when Harris saw him last.

"I've been too close to her," he said now. "I have no perspective any more. All I can see is my own work. And I'm just not sure that's ready yet for you or anyone to see."

"She thinks so?"

"I never saw a woman so confident." Maltzer drank, the glass clicking on his teeth. He looked up suddenly through the distorting lenses. "Of course a failure now would mean--well, absolute collapse," he said.

Harris nodded. He was thinking of the year of incredibly painstaking work that lay behind this meeting, the immense fund of knowledge, of infinite patience, the secret collaboration of artists, sculptors, designers, scientists, and the genius of Maltzer governing them all as an orchestra conductor governs his players.

He was thinking too, with a certain unreasoning jealousy, of the strange, cold, passionless intimacy between Maltzer and Deirdre in that year, a closer intimacy than any two humans can ever have shared before. In a sense the Deirdre whom he saw in a few minutes would be Maltzer, just as he thought he detected in Maltzer now and then small mannerisms of inflection and motion that had been Deirdre's own. There had been between them a sort of unimaginable marriage stranger than anything that could ever have taken place before.

"--so many complications," Maltzer was saying in his worried voice with its faintest possible echo of Deirdre's lovely, cadenced rhythm. (The sweet, soft huskiness he would never hear again.) "There was shock, of course. Terrible shock. And a great fear of fire. We had to conquer that before we could take the first steps. But we did it. When you go in you'll probably find her sitting before the fire." He caught the startled question in Harris' eyes and smiled. "No, she can't feel the warmth now, of course. But she likes to watch the flames. She's mastered any abnormal fear of them quite beautifully."

"She can--" Harris hesitated. "Her eyesight's normal now?"

"Perfect," Maltzer said. "Perfect vision was fairly simple to provide. After all, that sort of thing has already been worked out, in other connections. I might even say her vision's a little better than perfect, from our own standpoint." He shook his head irritably. "I'm not worried about the mechanics of the thing. Luckily they got to her before the brain was touched at all. Shock was the only danger to her sensory centers, and we took care of all that first of all, as soon as communication could be established. Even so, it needed great courage on her part. Great courage." He was silent for a moment, staring into his empty glass.

"Harris," he said suddenly, without looking up, "have I made a mistake? Should we have let her die?" Harris shook his head helplessly. It was an unanswerable question. It had tormented the whole world for a year now. There had been hundreds of answers and thousands of words written on the subject. Has anyone the right to preserve a brain alive when its body is destroyed? Even if a new body can be provided, necessarily so very unlike the old?

"It's not that she's--ugly--now," Maltzer went on hurriedly, as if afraid of an answer. "Metal isn't ugly. And Deirdre... well, you'll see. I tell you, I can't see myself. I know the whole mechanism so well--it's just mechanics to me. Maybe she's--grotesque. I don't know. Often I've wished I hadn't been on the spot, with all my ideas, just when the fire broke out. Or that it could have been anyone but Deirdre. She was so beautiful-- Still, if it had been someone else I think the whole thing might have failed completely. It takes more than just an uninjured brain. It takes strength and courage beyond common, and--well, something more. Something--unquenchable. Deirdre has it. She's still Deirdre. In a way she's still beautiful. But I'm not sure anybody but myself could see that. And you know what she plans?"

"No--what?"

"She's going back on the air-screen."

Harris looked at him in stunned disbelief.

"She is still beautiful," Maltzer told him fiercely. "She's got courage, and a serenity that amazes me. And she isn't in the least worried or resentful about what's happened. Or afraid what the verdict of the public will be. But I am, Harris. I'm terrified."

They looked at each other for a moment more, neither speaking. Then Maltzer shrugged and stood up.

"She's in there," he said, gesturing with his glass.

Harris turned without a word, not giving himself time to hesitate. He crossed toward the inner door.

The room was full of a soft, clear, indirect light that climaxed in the fire crackling on a white tiled hearth. Harris paused inside the door, his heart beating thickly. He did not see her for a moment. It was a perfectly commonplace room, bright, light, with pleasant furniture, and flowers on the tables. Their perfume was sweet on the clear air. He did not see Deirdre.

Then a chair by the fire creaked as she shifted her weight in it. The high back hid her, but she spoke. And for one dreadful moment it was the voice of an automaton that sounded in the room, metallic, without inflection.

"Hel-lo--" said the voice. Then she laughed and tried again. And it was the old, familiar, sweet huskiness he had not hoped to hear again as long as he lived.

In spite of himself he said, "Deirdre!" and her image rose before him as if she herself had risen unchanged from the chair, tall, golden, swaying a little with her wonderful dancer's poise, the lovely, imperfect features lighted by the glow that made them beautiful. It was the cruelest thing his memory could have done to him. And yet the voice--after that one lapse, the voice was perfect.

"Come and look at me, John," she said.

He crossed the floor slowly, forcing himself to move. That instant's flash of vivid recollection had nearly wrecked his hard-won poise. He tried to keep his mind perfectly blank as he came at last to the verge of seeing what no one but Maltzer had so far seen or known about in its entirety. No one at all had known what shape would be forged to clothe the most beautiful woman on Earth, now that her beauty was gone.

He had envisioned many shapes. Great, lurching robot forms, cylindrical, with hinged arms and legs. A glass case with the brain floating in it and appendages to serve its needs. Grotesque visions, like nightmares come nearly true. And each more inadequate than the last, for what metal shape could possibly do more than house ungraciously the mind and brain that had once enchanted a whole world?

Then he came around the wing of the chair, and saw her.

The human brain is often too complicated a mechanism to function perfectly. Harris' brain was called upon now to perform a very elaborate series of shifting impressions. First, incongruously, he remembered a curious inhuman figure he had once glimpsed leaning over the fence rail outside a farmhouse. For an instant the shape had stood up integrated, ungainly, impossibly human, before the glancing eye resolved it into an arrangement of brooms and buckets. What the eye had found only roughly humanoid, the suggestible brain had accepted fully formed. It was thus now, with Deirdre.

The first impression that his eyes and mind took from sight of her was shocked and incredulous, for his brain said to him unbelievingly, "This is Deirdre! She hasn't changed at all!"

Then the shift of perspective took over, and even more shockingly, eye and brain said, "No, not Deirdre--not human. Nothing but metal coils. Not Deirdre at all--" And that was the worst. It was like walking from a dream of someone beloved and lost, and facing anew, after that heartbreaking reassurance of sleep, the inflexible fact that nothing can bring the lost to life again. Deirdre was gone, and this was only machinery heaped in a flowered chair.

Then the machinery moved, exquisitely, smoothly, with a grace as familiar as the swaying poise he remembered. The sweet, husky voice of Deirdre said,

"It's me, John darling. It really is, you know."

And it was.

That was the third metamorphosis, and the final one. Illusion steadied and became factual, real. It was Deirdre.

He sat down bonelessly. He had no muscles. He looked at her speechless and unthinking, letting his senses take in the sight of her without trying to rationalize what he saw.

She was golden still. They had kept that much of her, the first impression of warmth and color which had once belonged to her sleek hair and the apricot tints of her skin. But they had had the good sense to go no farther. They had not tried to make a wax image of the lost Deirdre. (No woman born who was so beautiful-- Not one so beautiful, of all the women born--)

And so she had no face. She had only a smooth, delicately modeled ovoid for her head, with a... a sort of crescent-shaped mask across the frontal area where her eyes would have been if she had needed eyes. A narrow, curved quarter-moon, with the horns turned upward. It was filled in with something translucent, like cloudy crystal, and tinted the aquamarine of the eyes Deirdre used to have. Through that, then, she saw the world. Through that she looked without eyes, and behind it, as behind the eyes of a human--she was.

Except for that, she had no features. And it had been wise of those who designed her, he realized now. Subconsciously he had been dreading some clumsy attempt at human features that might creak like a marionette's in parodies of animation. The eyes, perhaps, had had to open in the same place upon her head, and at the same distance apart, to make easy for her an adjustment to the stereoscopic vision she used to have. But he was glad they had not given her two eye-shaped openings with glass marbles inside them. The mask was better.

(Oddly enough, he did not once think of the naked brain that must lie inside the metal. The mask was symbol enough for the woman within. It was enigmatic; you did not know if her gaze was on you searchingly, or wholly withdrawn. And it had no variations of brilliance such as once had played across the incomparable mobility of Deirdre's face. But eyes, even human eyes, are as a matter of fact enigmatic enough. They have no expression except what the lids impart; they take all animation from the features. We automatically watch the eyes of the friend we speak with, but if he happens to be lying down so that he speaks across his shoulder and his face is upside-down to us, quite as automatically we watch the mouth. The gaze keeps shifting nervously between mouth and eyes in their reversed order, for it is the position in the face, not the feature itself, which we are accustomed to accept as the seat of the soul. Deirdre's mask was in that proper place; it was easy to accept it as a mask over eyes.)

She had, Harris realized as the first shock quieted, a very beautifully shaped head--a bare, golden skull. She turned it a little, gracefully upon her neck of metal, and he saw that the artist who shaped it had given her the most delicate suggestion of cheekbones, narrowing in the blankness below the mask to the hint of a human face. Not too much. Just enough so that when the head turned you saw by its modeling that it had moved, lending perspective and foreshortening to the expressionless golden helmet. Light did not slip uninterrupted as if over the surface of a golden egg. Brancusi himself had never made anything more simple or more subtle than the modeling of Deirdre's head.

But all expression, of course, was gone. All expression had gone up in the smoke of the theater fire, with the lovely, mobile, radiant features which had meant Deirdre.

As for her body, he could not see its shape. A garment hid her. But they had made no incongruous attempt to give her back the clothing that once had made her famous. Even the softness of cloth would have called the mind too sharply to the remembrance that no human body lay beneath the folds, nor does metal need the incongruity of cloth for its protection. Yet without garments, he realized, she would have looked oddly naked, since her new body was humanoid, not angular machinery.

The designer had solved his paradox by giving her a robe of very fine metal mesh. It hung from the gentle slope of her shoulders in straight, pliant folds like a longer Grecian chlamys, flexible, yet with weight enough of its own not to cling too revealingly to whatever metal shape lay beneath.

The arms they had given her were left bare, and the feet and ankles. And Maltzer had performed his greatest miracle in the limbs of the new Deirdre. It was a mechanical miracle basically, but the eye appreciated first that he had also showed supreme artistry and understanding.

Her arms were pale shining gold, tapered smoothly, without modeling, and flexible their whole length in diminishing metal bracelets fitting one inside the other clear down to the slim, round wrists. The hands were more nearly human than any other feature about her, though they, too, were fitted together in delicate, small sections that slid upon one another with the flexibility almost of flesh. The fingers' bases were solider than human, and the fingers themselves tapered to longer tips.

Her feet, too, beneath the tapering broader rings of the metal ankles, had been constructed upon the model of human feet. Their finely tooled sliding segments gave her an arch and a heel and a flexible forward section formed almost like the sollerets of medieval armor.

She looked, indeed, very much like a creature in armor, with her delicately plated limbs and her featureless head like a helmet with a visor of glass, and her robe of chain-mail. But no knight in armor ever moved as Deirdre moved, or wore his armor upon a body of such inhumanly fine proportions. Only a knight from another world, or a knight of Oberon's court, might have shared that delicate likeness.

Briefly he had been surprised at the smallness and exquisite proportions of her. He had been expecting the ponderous mass of such robots as he had seen, wholly automatons. And then he realized that for them, much of the space had to be devoted to the inadequate mechanical brains that guided them about their duties. Deirdre's brain still preserved and proved the craftsmanship of an artisan far defter than man. Only the body was of metal, and it did not seem complex, though he had not yet been told how it was motivated.

Harris had no idea how long he sat staring at the figure in the cushioned chair. She was still lovely--indeed, she was still Deirdre-- and as he looked he let the careful schooling of his face relax. There was no need to hide his thoughts from her.

She stirred upon the cushions, the long, flexible arms moving with a litheness that was not quite human. The motion disturbed him as the body itself had not, and in spite of himself his face froze a little. He had the feeling that from behind the crescent mask she was watching him very closely.

Slowly she rose.

The motion was very smooth. Also it was serpentine, as if the body beneath the coat of mail were made in the same interlocking sections as her limbs. He had expected and feared mechanical rigidity; nothing had prepared him for this more than human suppleness.

She stood quietly, letting the heavy mailed folds of her garment settle about her. They fell together with a faint ringing sound, like small bells far off, and hung beautifully in pale golden, sculptured folds. He had risen automatically as she did. Now he faced her, staring. He had never seen her stand perfectly still, and she was not doing it now. She swayed just a bit, vitality burning inextinguishably in her brain as once it had burned in her body, and stolid immobility was as impossible to her as it had always been. The golden garment caught points of light from the fire and glimmered at him with tiny reflections as she moved.

Then she put her featureless helmeted head a little to one side, and he heard her laughter as familiar in its small, throaty, intimate sound as he had ever heard it from her living throat. And every gesture, every attitude, every flowing of motion into motion was so utterly Deirdre that the overwhelming illusion swept his mind again and this was the flesh-and-blood woman as clearly as if he saw her standing there whole once more, like Phoenix from the fire.

"Well, John," she said in the soft, husky, amused voice he remembered perfectly. "Well, John, is it I?" She knew it was. Perfect assurance sounded in the voice. "The shock will wear off, you know. It'll be easier and easier as time goes on. I'm quite used to myself now. See?"

She turned away from him and crossed the room smoothly, with the old, poised, dancer's glide, to the mirror that paneled one side of the room. And before it, as he had so often seen her preen before, he watched her preening now, running flexible metallic hands down the folds of her metal garment, turning to admire herself over one metal shoulder, making the mailed folds tinkle and sway as she struck an arabesque position before the glass.

His knees let him down into the chair she had vacated. Mingled shock and relief loosened all his muscles in him, and she was more poised and confident than he.

"It's a miracle," he said with conviction. "It's you. But I don't see how--" He had meant, "--how, without face or body--" but clearly he could not finish that sentence.

She finished it for him in her own mind, and answered without self-consciousness. "It's motion, mostly," she said, still admiring her own suppleness in the mirror. "See?" And very lightly on her springy, armored feet she flashed through an enchainement of brilliant steps, swinging round with a pirouette to face him. "That was what Maltzer and I worked out between us, after I began to get myself under control again." Her voice was somber for a moment, remembering a dark time in the past. Then she went on, "It wasn't easy, of course, but it was fascinating. You'll never guess how fascinating, John! We knew we couldn't work out anything like a facsimile of the way I used to look, so we had to find some other basis to build on. And motion is the other basis of recognition, after actual physical likeness."

She moved lightly across the carpet toward the window and stood looking down, her featureless face averted a little and the light shining across the delicately hinted curves of the cheekbones.

"Luckily," she said, her voice amused, "I never was beautiful. It was all--well, vivacity, I suppose, and muscular co-ordination. Years and years of training, and all of it engraved here"--she struck her golden helmet a light, ringing blow with golden knuckles--"in the habit patterns grooved into my brain. So this body... did he tell you?... works entirely through the brain. Electromagnetic currents flowing along from ring to ring, like this." She rippled a boneless arm at him with a motion like flowing water. "Nothing holds me together--nothing!--except muscles of magnetic currents. And if I'd been somebody else--somebody who moved differently, why the flexible rings would have moved differently too, guided by the impulse from another brain. I'm not conscious of doing anything I haven't always done. The same impulses that used to go out to my muscles go out now to--this." And she made a shuddering, serpentine motion of both arms at him, like a Cambodian dancer, and then laughed whole-heartedly, the sound of it ringing through the room with such full-throated merriment that he could not help seeing again the familiar face crinkled with pleasure, the white teeth shining. "It's all perfectly subconscious now," she told him. "It took lots of practice at first, of course, but now even my signature looks just as it always did--the co-ordination is duplicated that delicately." She rippled her arms at him again and chuckled.

"But the voice, too," Harris protested inadequately. "It's your voice, Deirdre."

"The voice isn't only a matter of throat construction and breath control, my darling Johnnie! At least, so Professor Maltzer assured me a year ago, and I certainly haven't any reason to doubt him!" She laughed again. She was laughing a little too much, with a touch of the bright, hysteric over-excitement he remembered so well. But if any woman ever had reason for mild hysteria, surely Deirdre had it now.

The laughter rippled and ended, and she went on, her voice eager. "He says voice control is almost wholly a matter of hearing what you produce, once you've got adequate mechanism, of course. That's why deaf people, with the same vocal chords as ever, let their voices change completely and lose all inflection when they've been deaf long enough. And luckily, you see, I'm not deaf!"

She swung around to him, the folds of her robe twinkling and ringing, and rippled up and up a clear, true scale to a lovely high note, and then cascaded down again like water over a falls. But she left him no time for applause. "Perfectly simple, you see. All it took was a little matter of genius from the professor to get it worked out for me! He started with a new variation of the old Vodor you must remember hearing about, years ago. Originally, of course, the thing was ponderous. You know how it worked--speech broken down to a few basic sounds and built up again in combinations produced from a keyboard. I think originally the sounds were a sort of ktch and a shooshing noise, but we've got it all worked to a flexibility and range quite as good as human now. All I do is--well, mentally play on the keyboard of my... my sound-unit, I suppose it's called. It's much more complicated than that, of course, but I've learned to do it unconsciously. And I regulate it by ear, quite automatically now. If you were--here--instead of me, and you'd had the same practice, your own voice would be coming out of the same keyboard and diaphragm instead of mine. It's all a matter of the brain patterns that operated the body and now operate the machinery. They send out very strong impulses that are stepped up as much as necessary somewhere or other in here--" Her hands waved vaguely over the mesh-robed body.

She was silent a moment, looking out the window. Then she turned away and crossed the floor to the fire, sinking again into the flowered chair. Her helmet-skull turned its mask to face him and he could feel a quiet scrutiny behind the aquamarine of its gaze.

"It's--odd," she said, "being here in this... this... instead of a body. But not as odd or as alien as you might think. I've thought about it a lot--I've had plenty of time to think--and I've begun to realize what a tremendous force the human ego really is. I'm not sure I want to suggest it has any mystical power it can impress on mechanical things, but it does seem to have a power of some sort. It does instill its own force into inanimate objects, and they take on a personality of their own. People do impress their personalities on the houses they live in, you know. I've noticed that often. Even empty rooms. And it happens with other things too, especially, I think, with inanimate things that men depend on for their lives. Ships, for instance--they always have personalities of their own.

"And planes--in wars you always hear of planes crippled too badly to fly, but struggling back anyhow with their crews. Even guns acquire a sort of ego. Ships and guns and planes are 'she' to the men who operate them and depend on them for their lives. It's as if machinery with complicated moving parts almost simulates life, and does acquire from the men who used it--well, not exactly life, of course--but a personality. I don't know what. Maybe it absorbs some of the actual electrical impulses their brains throw off, especially in times of stress.

"Well, after awhile I began to accept the idea that this new body of mine could behave at least as responsively as a ship or a plane. Quite apart from the fact that my own brain controls its 'muscles.' I believe there's an affinity between men and the machines they make. They make them out of their own brains, really, a sort of mental conception and gestation, and the result responds to the minds that created them, and to all human minds that understand and manipulate them."

She stirred uneasily and smoothed a flexible hand along her mesh-robed metal thigh. "So this is myself," she said. "Metal--but me. And it grows more and more myself the longer I live in it. It's my house and the machine my life depends on, but much more intimately in each case than any real house or machine ever was before to any other human. And you know, I wonder if in time I'll forget what flesh felt like--my own flesh, when I touched it like this--and the metal against the metal will be so much the same I'll never even notice?"

Harris did not try to answer her. He sat without moving, watching her expressionless face. In a moment she went on.

"I'll tell you the best thing, John," she said, her voice softening to the old intimacy he remembered so well that he could see superimposed upon the blank skull the warm, intent look that belonged with the voice. "I'm not going to live forever. It may not sound like a--best thing--but it is, John. You know, for awhile that was the worst of all, after I knew I was--after I woke up again. The thought of living on and on in a body that wasn't mine, seeing everyone I knew grow old and die, and not being able to stop--

"But Maltzer says my brain will probably wear out quite normally--except, of course, that I won't have to worry about looking old!--and when it gets tired and stops, the body I'm in won't be any longer. The magnetic muscles that hold it into my own shape and motions will let go when the brain lets go, and there'll be nothing but a... a pile of disconnected rings. If they ever assemble it again, it won't be me." She hesitated. "I like that, John," she said, and he felt from behind the mask a searching of his face.

He knew and understood that somber satisfaction. He could not put it into words; neither of them wanted to do that. But he understood. It was the conviction of mortality, in spite of her immortal body. She was not cut off from the rest of her race in the essence of their humanity, for though she wore a body of steel and they perishable flesh, yet she must perish too, and the same fears and faiths still united her to mortals and humans, though she wore the body of Oberon's inhuman knight. Even in her death she must be unique--dissolution in a shower of tinkling and clashing rings, he thought, and almost envied her the finality and beauty of that particular death--but afterward, oneness with humanity in however much or little awaited them all. So she could feel that this exile in metal was only temporary, in spite of everything.

(And providing, of course, that the mind inside the metal did not veer from its inherited humanity as the years went by. A dweller in a house may impress his personality upon the walls, but subtly the walls too, may impress their own shape upon the ego of the man. Neither of them thought of that, at the time.)

Deirdre sat a moment longer in silence. Then the mood vanished and she rose again, spinning so that the robe belied out ringing about her ankles. She rippled another scale up and down, faultlessly and with the same familiar sweetness of tone that had made her famous.

"So I'm going right back on the stage, John," she said serenely. "I can still sing. I can still dance. I'm still myself in everything that matters, and I can't imagine doing anything else for the rest of my life."

He could not answer without stammering a little. "Do you think will they accept you, Deirdre? After all--"

"They'll accept me," she said in that confident voice. "Oh, they'll come to see a freak at first, of course, but they'll stay to watch--Deirdre. And come back again and again just as they always did. You'll see, my dear."

But hearing her sureness, suddenly Harris himself was unsure. Maltzer had not been, either. She was so regally confident, and disappointment would be so deadly a blow at all that remained of her-- She was so delicate a being now, really. Nothing but a glowing and radiant mind poised in metal, dominating it, bending the steel to the illusion of her lost loveliness with a sheer self-confidence that gleamed through the metal body. But the brain sat delicately on its poise of reason. She had been through intolerable stresses already, perhaps more terrible depths of despair and self-knowledge than any human brain had yet endured before her, for--since Lazarus himself--who had come back from the dead?

But if the world did not accept her as beautiful, what then? If they laughed, or pitied her, or came only to watch a jointed freak performing as if on strings where the loveliness of Deirdre had once enchanted them, what then? And he could not be perfectly sure they would not. He had known her too well in the flesh to see her objectively even now, in metal. Every inflection of her voice called up the vivid memory of the face that had flashed its evanescent beauty in some look to match the tone. She was Deirdre to Harris simply because she had been so intimately familiar in every poise and attitude, through so many years. But people who knew her only slightly, or saw her for the first time in metal--what would they see?

A marionette? Or the real grace and loveliness shining through?

He had no possible way of knowing. He saw her too clearly as she had been to see her now at all, except so linked with the past that she was not wholly metal. And he knew what Maltzer feared, for Maltzer's psychic blindness toward her lay at the other extreme. He had never known Deirdre except as a machine, and he could not see her objectively any more than Harris could. To Maltzer she was pure metal, a robot his own hands and brain had devised, mysteriously animated by the mind of Deirdre, to be sure, but to all outward seeming a thing of metal solely. He had worked so long over each intricate part of her body, he knew so well how every jointure in it was put together, that he could not see the whole. He had studied many film records of her, of course, as she used to be, in order to gauge the accuracy of his facsimile, but this thing he had made was a copy only. He was too close to Deirdre to see her. And Harris, in a way, was too far. The indomitable Deirdre herself shone so vividly through the metal that his mind kept superimposing one upon the other.

How would an audience react to her? Where in the scale between these two extremes would their verdict fall?

For Deirdre, there was only one possible answer.

"I'm not worried," Deirdre said serenely, and spread her golden hands to the fire to watch lights dancing in reflection upon their shining surfaces. "I'm still myself. I've always had... well, power over my audiences. Any good performer knows when he's got it. Mine isn't gone. I can still give them what I always gave, only now with greater variations and more depths than I'd ever have done before. Why, look--" She gave a little wriggle of excitement.

"You know the arabesque principle--getting the longest possible distance from fingertip to toetip with a long, slow curve through the whole length? And the brace of the other leg and arm giving contrast? Well, look at me. I don't work on hinges now. I can make every motion a long curve if I want to. My body's different enough now to work out a whole new school of dancing. Of course there'll be things I used to do that I won't attempt now--no more dancing sur les pointes, for instance--but the new things will more than balance the loss. I've been practicing. Do you know I can turn a hundred fouettés now without a flaw? And I think I could go right on and turn a thousand, if I wanted."

She made the firelight flash on her hands, and her robe rang musically as she moved her shoulders a little. "I've already worked out one new dance for myself," she said. "God knows I'm no choreographer, but I did want to experiment first. Later, you know, really creative men like Massanchine or Fokhileff may want to do something entirely new for me--a whole new sequence of movements based on a new technique. And music--that could be quite different, too. Oh, there's no end to the possibilities! Even my voice has more range and power. Luckily I'm not an actress--it would be silly to try to play Camille or Juliet with a cast of ordinary people. Not that I couldn't, you know." She turned her head to stare at Harris through the mask of glass. "I honestly think I could. But it isn't necessary. There's too much else. Oh, I'm not worried!"

"Maltzer's worried," Harris reminded her.

She swung away from the fire, her metal robe ringing, and into her voice came the old note of distress that went with a furrowing of her forehead and a sidewise tilt of the head. The head went sidewise as it had always done, and he could see the furrowed brow almost as clearly as if flesh still clothed her.

"I know. And I'm worried about him, John. He's worked so awfully hard over me. This is the doldrums now, the let-down period, I suppose. I know what's on his mind. He's afraid I'll look just the same to the world as I look to him. Tooled metal. He's in a position no one ever quite achieved before, isn't he? Rather like God." Her voice rippled a little with amusement. "I suppose to God we must look like a collection of cells and corpuscles ourselves. But Maltzer lacks a god's detached viewpoint."

"He can't see you as I do, anyhow." Harris was choosing his words with difficulty. "I wonder, though--would it help him any if you postponed your debut awhile? You've been with him too closely, I think. You don't quite realize how near a breakdown he is. I was shocked when I saw him just now."

The golden head shook. "No. He's close to a breaking point, maybe, but I think the only cure's action. He wants me to retire and stay out of sight, John. Always. He's afraid for anyone to see me except a few old friends who remember me as I was. People he can trust to be--kind." She laughed. It was very strange to hear that ripple of mirth from the blank, unfeatured skull. Harris was seized with sudden panic at the thought of what reaction it might evoke in an audience of strangers. As if he had spoken the fear aloud, her voice denied it. "I don't need kindness. And it's no kindness to Maltzer to hide me under a bushel. He has worked too hard, I know. He's driven himself to a breaking point. But it'll be a complete negation of all he's worked for if I hide myself now. You don't know what a tremendous lot of geniuses and artistry went into me, John. The whole idea from the start was to recreate what I'd lost so that it could be proved that beauty and talent need not be sacrificed by the destruction of parts or all the body.

"It wasn't only for me that we meant to prove that. There'll be others who suffer injuries that once might have ruined them. This was to end all suffering like that forever. It was Maltzer's gift to the whole race as well as to me. He's really a humanitarian, John, like most great men. He'd never have given up a year of his life to this work if it had been for any one individual alone. He was seeing thousands of others beyond me as he worked. And I won't let him ruin all he's achieved because he's afraid to prove it now he's got it. The whole wonderful achievement will be worthless if I don't take the final step. I think his breakdown, in the end, would be worse and more final if I never tried than if I tried and failed."

Harris sat in silence. There was no answer he could make to that. He hoped the little twinge of shamefaced jealousy he suddenly felt did not show, as he was reminded anew of the intimacy closer than marriage which had of necessity bound these two together. And he knew that any reaction of his would in its way be almost as prejudiced as Maltzer's, for a reason at once the same and entirely opposite. Except that he himself came fresh to the problem, while Maltzer's view-point was colored by a year of overwork and physical and mental exhaustion.

"What are you going to do?" he asked.

She was standing before the fire when he spoke, swaying just a little so that highlights danced all along her golden body. Now she turned with a serpentine grace and sank into the cushioned chair beside her. It came to him suddenly that she was much more than humanly graceful--quite as much as he had once feared she would be less than human.

"I've already arranged for a performance," she told him, her voice a little shaken with a familiar mixture of excitement and defiance.

Harris sat up with a start. "How? Where? There hasn't been any publicity at all yet, has there? I didn't know--"

"Now, now, Johnnie," her amused voice soothed him. "You'll be handling everything just as usual once I get started back to work--that is, if you still want to. But this I've arranged for myself. It's going to be a surprise. I... I felt it had to be a surprise." She wriggled a little among the cushions. "Audience psychology is something I've always felt rather than known, and I do feel this is the way it ought to be done. There's no precedent. Nothing like this ever happened before. I'll have to go by my own intuition."

"You mean it's to be a complete surprise?"

"I think it must be. I don't want the audience coming in with preconceived ideas. I want them to see me exactly as I am now first, before they know who or what they're seeing. They must realize I can still give as good a performance as ever before they remember and compare it with my past performances. I don't want them to come ready to pity my handicaps--I haven't got any!--or full of morbid curiosity. So I'm going on the air after the regular eight-o'clock telecast of the feature from Teleo City. I'm just going to do one specialty in the usual vaude program. It's all been arranged. They'll build up to it, of course, as the highlight of the evening, but they aren't to say who I am until the end of the performance--if the audience hasn't recognized me already, by then."

"Audience?"

"Of course. Surely you haven't forgotten they still play to a theater audience at Teleo City? That's why I want to make my debut there. I've always played better when there were people in the studio, so I could gauge reactions. I think most performers do. Anyhow, it's all arranged."

"Does Maltzer know?"

She wriggled uncomfortably. "Not yet."

"But he'll have to give his permission too, won't he? I mean--"

"Now look, John! That's another idea you and Maltzer will have to get out of your minds. I don't belong to him. In a way he's just been my doctor through a long illness, but I'm free to discharge him whenever I choose. If there were ever any legal disagreement, I suppose he'd be entitled to quite a lot of money for the work he's done on my new body--for the body itself, really, since it's his own machine, in one sense. But he doesn't own it, or me. I'm not sure just how the question would be decided by the courts--there again, we've got a problem without precedent. The body may be his work, but the brain that makes it something more than a collection of metal rings is me, and he couldn't restrain me against my will even if he wanted to. Not legally, and not--" She hesitated oddly and looked away. For the first time Harris was aware of something beneath the surface of her mind which was quite strange to him.

"Well, anyhow," she went on, "that question won't come up. Maltzer and I have been much too close in the past year to clash over anything as essential as this. He knows in his heart that I'm right, and he won't try to restrain me. His work won't be completed until I do what I was built to do. And I intend to do it."

That strange little quiver of something--something un-Deirdre--which had so briefly trembled beneath the surface of familiarity stuck in Harris' mind as something he must recall and examine later. Now he said only,

"All right. I suppose I agree with you. How soon are you going to do it?"

She turned her head so that even the glass mask through which she looked out at the world was foreshortened away from him, and the golden helmet with its hint of sculptured cheekbone was entirely enigmatic.

"Tonight," she said.

Maltzer's thin hand shook so badly that he could not turn the dial. He tried twice and then laughed nervously and shrugged at Harris.

"You get her," he said.

Harris glanced at his watch. "It isn't time yet. She won't be on for half an hour."

Maltzer made a gesture of violent impatience. "Get it, get it!"

Harris shrugged a little in turn and twisted the dial. On the tilted screen above them shadows and sound blurred together and then clarified into a somber medieval hall, vast, vaulted, people in bright costume moving like pygmies through its dimness. Since the play concerned Mary of Scotland, the actors were dressed in something approximating Elizabethan garb, but as every era tends to translate costume into terms of the current fashions, the women's hair was dressed in a style that would have startled Elizabeth, and their footgear was entirely anachronistic.

The hall dissolved and a face swam up into soft focus upon the screen. The dark, lush beauty of the actress who was playing the Stuart queen glowed at them in velvety perfection from the clouds of her pearl-strewn hair. Maltzer groaned.

"She's competing with that," he said hollowly.

"You think she can't?"

Maltzer slapped the chair arms with angry palms. Then the quivering of his fingers seemed suddenly to strike him, and he muttered to himself, "Look at 'em! I'm not even fit to handle a hammer and saw." But the mutter was an aside. "Of course she can't compete," he cried irritably. "She hasn't any sex. She isn't female any more. She doesn't know that yet, but she'll learn."

Harris stared at him, feeling a little stunned. Somehow the thought had not occurred to him before at all, so vividly had the illusion of the old Deirdre hung about the new one.

"She's an abstraction now," Maltzer went on, drumming his palms upon the chair in quick, nervous rhythms. "I don't know what it'll do to her, but there'll be change. Remember Abelard? She's lost everything that made her essentially what the public wanted, and she's going to find it out the hard way. After that--" He grimaced savagely and was silent.

"She hasn't lost everything," Harris defended. "She can dance and sing as well as ever, maybe better. She still has grace and charm and--"

"Yes, but where did the grace and charm come from? Not out of the habit patterns in her brain. No, out of human contacts, out of all the things that stimulate sensitive minds to creativeness. And she's lost three of her five senses. Everything she can't see and hear is gone. One of the strongest stimuli to a woman of her type was the knowledge of sex competition. You know how she sparkled when a man came into the room? All that's gone, and it was an essential. You know how liquor stimulated her? She's lost that. She couldn't taste food or drink even if she needed it. Perfume, flowers, all the odors we respond to mean nothing to her now. She can't feel anything with tactual delicacy any more. She used to surround herself with luxuries--she drew her stimuli from them--and that's all gone too. She's withdrawn from all physical contacts."

He squinted at the screen, not seeing it, his face drawn into lines like the lines of a skull. All flesh seemed to have dissolved off his bones in the past year, and Harris thought almost jealously that even in that way he seemed to be drawing nearer Deirdre in her fleshless-ness with every passing week.

"Sight," Maltzer said, "is the most highly civilized of the senses. It was the last to come. The other senses tie us in closely with the very roots of life; I think we perceive with them more keenly than we know. The things we realize through taste and smell and feeling stimulate directly, without a detour through the centers of conscious thought. You know how often a taste or odor will recall a memory to you so subtly you don't know exactly what caused it? We need those primitive senses to tie us in with nature and the race. Through those ties Deirdre drew her vitality without realizing it. Sight is a cold, intellectual thing compared with the other senses. But it's all she has to draw on now. She isn't a human being any more, and I think what humanity is left in her will drain out little by little and never be replaced. Abelard, in a way, was a prototype. But Deirdre's loss is complete."

"She isn't human," Harris agreed slowly. "But she isn't pure robot either. She's something somewhere between the two, and I think it's a mistake to try to guess just where, or what the outcome will be."

"I don't have to guess," Maltzer said in a grim voice. "I know. I wish I'd let her die. I've done something to her a thousand times worse than the fire ever could. I should have let her die in it."

"Wait," said Harris. "Wait and see. I think you're wrong."

On the television screen Mary of Scotland climbed the scaffold to her doom, the gown of traditional scarlet clinging warmly to supple young curves as anachronistic in their way as the slippers beneath the gown, for--as everyone but playwrights knows--Mary was well into middle age before she died. Gracefully this latter-day Mary bent her head, sweeping the long hair aside, kneeling to the block.

Maltzer watched stonily, seeing another woman entirely.

"I shouldn't have let her," he was muttering. "I shouldn't have let her do it."

"Do you really think you'd have stopped her if you could?" Harris asked quietly. And the other man after a moment's pause shook his head jerkily.

"No, I suppose not. I keep thinking if I worked and waited a little longer maybe I could make it easier for her, but--no, I suppose not. She's got to face them sooner or later, being herself." He stood up abruptly, shoving back his chair. "If she only weren't so... so frail. She doesn't realize how delicately poised her very sanity is. We gave her what we could--the artists and the designers and I, all gave our very best--but she's so pitifully handicapped even with all we could do. She'll always be an abstraction and a... a freak, cut off from the world by handicaps worse in their way than anything any human being ever suffered before. Sooner or later she'll realize it. And then--" He began to pace up and down with quick, uneven steps, striking his hands together. His face was twitching with a little tic that drew up one eye to a squint and released it again at irregular intervals. Harris could see how very near collapse the man was.

"Can you imagine what it's like?" Maltzer demanded fiercely. "Penned into a mechanical body like that, shut out from all human contacts except what leaks in by way of sight and sound? To know you aren't human any longer? She's been through shocks enough already. When that shock fully hits her--"

"Shut up," said Harris roughly. "You won't do her any good if you break down yourself. Look--the vaude's starting."

Great golden curtains had swept together over the unhappy Queen of Scotland and were parting again now, all sorrow and frustration wiped away once more as cleanly as the passing centuries had already expunged them. Now a line of tiny dancers under the tremendous arch of the stage kicked and pranced with the precision of little mechanical dolls too small and perfect to be real. Vision rushed down upon them and swept along the row, face after stiffly smiling face racketing by like fence pickets. Then the sight rose into the rafters and looked down upon them from a great height, the grotesquely foreshortened figures still prancing in perfect rhythm even from this inhuman angle.

There was applause from an invisible audience. Then someone came out and did a dance with lighted torches that streamed long, weaving ribbons of fire among clouds of what looked like cotton wool but was most probably asbestos. Then a company in gorgeous pseudo-period costumes postured its way through the new singing ballet form of dance, roughly following a plot which had been announced as Les Sylphides, but had little in common with it. Afterward the precision dancers came on again, solemn and charming as performing dolls.

Maltzer began to show signs of dangerous tension as act succeeded act. Deirdre's was to be the last, of course. It seemed very long indeed before a face in close-up blotted out the stage, and a master of ceremonies with features like an amiable marionette's announced a very special number as the finale. His voice was almost cracking with excitement--perhaps he, too, had not been told until a moment before what lay in store for the audience.

Neither of the listening men heard what it was he said, but both were conscious of a certain indefinable excitement rising among the audience, murmurs and rustlings and a mounting anticipation as if time had run backward here and knowledge of the great surprise had already broken upon them.

Then the golden curtains appeared again. They quivered and swept apart on long upward arcs, and between them the stage was full of a shimmering golden haze. It was, Harris realized in a moment, simply a series of gauze curtains, but the effect was one of strange and wonderful anticipation, as if something very splendid must be hidden in the haze. The world might have looked like this on the first morning of creation, before heaven and earth took form in the mind of God. It was a singularly fortunate choice of stage set in its symbolism, though Harris wondered how much necessity had figured in its selection, for there could not have been much time to prepare an elaborate set.

The audience sat perfectly silent, and the air was tense. This was no ordinary pause before an act. No one had been told, surely, and yet they seemed to guess-- The shimmering haze trembled and began to thin, veil by veil.

Beyond was darkness, and what looked like a row of shining pillars set in a balustrade that began gradually to take shape as the haze drew back in shining folds. Now they could see that the balustrade curved up from left and right to the head of a sweep of stairs. Stage and stairs were carpeted in black velvet; black velvet draperies hung just ajar behind the balcony, with a glimpse of dark sky beyond them trembling with dim synthetic stars.

The last curtain of golden gauze withdrew. The stage was empty. Or it seemed empty. But even through the aerial distances between this screen and the place it mirrored, Harris thought that the audience was not waiting for the performer to come on from the wings. There was no rustling, no coughing, no sense of impatience. A presence upon the stage was in command from the first drawing of the curtains; it filled the theater with its calm domination. It gauged its timing, holding the audience as a conductor with lifted baton gathers and holds the eyes of his orchestra.

For a moment everything was motionless upon the stage. Then, at the head of the stairs, where the two curves of the pillared balustrade swept together, a figure stirred.

Until that moment she had seemed another shining column in the row. Now she swayed deliberately, light catching and winking and running molten along her limbs and her robe of metal mesh. She swayed just enough to show that she was there. Then, with every eye upon her, she stood quietly to let them look their fill. The screen did not swoop to a close-up upon her. Her enigma remained inviolate and the television watchers saw her no more clearly than the audience in the theater.

Many must have thought her at first some wonderfully animate robot, hung perhaps from wires invisible against the velvet, for certainly she was no woman dressed in metal--her proportions were too thin and fine for that. And perhaps the impression of robotism was what she meant to convey at first. She stood quiet, swaying just a little, a masked and inscrutable figure, faceless, very slender in her robe that hung in folds as pure as a Grecian chlamys, though she did not look Grecian at all. In the visored golden helmet and the robe of mail that odd likeness to knighthood was there again, with its implications of medieval richness behind the simple lines. Except that in her exquisite slimness she called to mind no human figure in armor, not even the comparative delicacy of a St. Joan. It was the chivalry and delicacy of some other world implicit in her outlines.

A breath of surprise had rippled over the audience when she moved. Now they were tensely silent again, waiting. And the tension, the anticipation, was far deeper than the surface importance of the scene could ever have evoked. Even those who thought her a manikin seemed to feel the forerunning of greater revelations.

Now she swayed and came slowly down the steps, moving with a suppleness just a little better than human. The swaying strengthened. By the time she reached the stage floor she was dancing. But it was no dance that any human creature could ever have performed. The long, slow, languorous rhythms of her body would have been impossible to a figure hinged at its joints as human figures hinge. (Harris remembered incredulously that he had feared once to find her jointed like a mechanical robot. But it was humanity that seemed, by contrast, jointed and mechanical now.)

The languor and the rhythm of her patterns looked impromptu, as all good dances should, but Harris knew what hours of composition and rehearsal must lie behind it, what laborious graving into her brain of strange new pathways, the first to replace the old ones and govern the mastery of metal limbs.

To and fro over the velvet carpet, against the velvet background, she wove the intricacies of her serpentine dance, leisurely and yet with such hypnotic effect that the air seemed full of looping rhythms, as if her long, tapering limbs had left their own replicas hanging upon the air and fading only slowly as she moved away. In her mind, Harris knew, the stage was a whole, a background to be filled in completely with the measured patterns of her dance, and she seemed almost to project that completed pattern to her audience so that they saw her everywhere at once, her golden rhythms fading upon the air long after she had gone.

Now there was music, looping and hanging in echoes after her like the shining festoons she wove with her body. But it was no orchestral music. She was humming, deep and sweet and wordlessly, as she glided her easy, intricate path about the stage. And the volume of the music was amazing. It seemed to fill the theater, and it was not amplified by hidden loudspeakers. You could tell that. Somehow, until you heard the music she made, you had never realized before the subtle distortions that amplification puts into music. This was utterly pure and true as perhaps no ear in all her audience had ever heard music before.

While she danced the audience did not seem to breathe. Perhaps they were beginning already to suspect who and what it was that moved before them without any fanfare of the publicity they had been half-expecting for weeks now. And yet, without the publicity, it was not easy to believe the dancer they watched was not some cunningly motivated manikin swinging on unseen wires about the stage.

Nothing she had done yet had been human. The dance was no dance a human being could have performed. The music she hummed came from a throat without vocal chords. But now the long, slow rhythms were drawing to their close, the pattern tightening in to a finale. And she ended as inhumanly as she had danced, willing them not to interrupt her with applause, dominating them now as she had always done. For her implication here was that a machine might have performed the dance, and a machine expects no applause. If they thought unseen operators had put her through those wonderful paces, they would wait for the operators to appear for their bows. But the audience was obedient. It sat silently, waiting for what came next. But its silence was tense and breathless.

The dance ended as it had begun. Slowly, almost carelessly, she swung up the velvet stairs, moving with rhythms as perfect as her music. But when she reached the head of the stairs she turned to face her audience, and for a moment stood motionless, like a creature of metal, without volition, the hands of the operator slack upon its strings.

Then, startlingly, she laughed.

It was lovely laughter, low and sweet and full-throated. She threw her head back and let her body sway and her shoulders shake, and the laughter, like the music, filled the theater, gaining volume from the great hollow of the roof and sounding in the ears of every listener, not loud, but as intimately as if each sat alone with the woman who laughed.

And she was a woman now. Humanity had dropped over her like a tangible garment. No one who had ever heard that laughter before could mistake it here. But before the reality of who she was had quite time to dawn upon her listeners she let the laughter deepen into music, as no human voice could have done. She was humming a familiar refrain close in the ear of every hearer. And the humming in turn swung into words. She sang in her clear, light, lovely voice:

"The yellow rose of Eden, is blooming in my heart--"

It was Deirdre's song. She had sung it first upon the airways a month before the theater fire that had consumed her. It was a commonplace little melody, simple enough to take first place in the fancy of a nation that had always liked its songs simple. But it had a certain sincerity too, and no taint of the vulgarity of tune and rhythm that foredooms so many popular songs to oblivion after their novelty fades.

No one else was ever able to sing it quite as Deirdre did. It had been identified with her so closely that though for awhile after her accident singers tried to make it a memorial for her, they failed so conspicuously to give it her unmistakable flair that the song died from their sheer inability to sing it. No one ever hummed the tune without thinking of her and the pleasant, nostalgic sadness of something lovely and lost.

But it was not a sad song now. If anyone had doubted whose brain and ego motivated this shining metal suppleness, they could doubt no longer. For the voice was Deirdre, and the song. And the lovely, poised grace of her mannerisms that made up recognition as certainly as sight of a familiar face.

She had not finished the first line of her song before the audience knew her.

And they did not let her finish. The accolade of their interruption was a tribute more eloquent than polite waiting could ever have been. First a breath of incredulity rippled over the theater, and a long, sighing gasp that reminded Harris irrelevantly as he listened to the gasp which still goes up from matinee audiences at the first glimpse of the fabulous Valentino, so many generations dead. But this gasp did not sigh itself away and vanish. Tremendous tension lay behind it, and the rising tide of excitement rippled up in little murmurs and spatterings of applause that ran together into one overwhelming roar. It shook the theater. The television screen trembled and blurred a little to the volume of that transmitted applause.

Silenced before it, Deirdre stood gesturing on the stage, bowing and bowing as the noise rolled up about her, shaking perceptibly with the triumph of her own emotion.

Harris had an intolerable feeling that she was smiling radiantly and that the tears were pouring down her cheeks. He even thought, just as Maltzer leaned forward to switch off the screen, that she was blowing kisses over the audience in the time-honored gesture of the grateful actress, her golden arms shining as she scattered kisses abroad from the featureless helmet, the face that had no mouth.

"Well?" Harris said, not without triumph.

Maltzer shook his head jerkily, the glasses unsteady on his nose so that the blurred eyes behind them seemed to shift.

"Of course they applauded, you fool," he said in a savage voice. "I might have known they would under this set-up. It doesn't prove anything. Oh, she was smart to surprise them--I admit that. But they were applauding themselves as much as her. Excitement, gratitude for letting them in on a historic performance, mass hysteria--you know. It's from now on the test will come, and this hasn't helped any to prepare her for it. Morbid curiosity when the news gets out--people laughing when she forgets she isn't human. And they will, you know. There are always those who will. And the novelty wearing off. The slow draining away of humanity for lack of contact with any human stimuli any more--"

Harris remembered suddenly and reluctantly the moment that afternoon which he had shunted aside mentally, to consider later. The sense of something unfamiliar beneath the surface of Deirdre's speech. Was Maltzer right? Was the drainage already at work? Or was there something deeper than this obvious answer to the question? Certainly she had been through experiences too terrible for ordinary people to comprehend. Scars might still remain. Or, with her body, had she put on a strange, metallic something of the mind, that spoke to no sense which human minds could answer?

For a few minutes neither of them spoke. Then Maltzer rose abruptly and stood looking down at Harris with an abstract scowl.

"I wish you'd go now," he said.

Harris glanced up at him, startled. Maltzer began to pace again, his steps quick and uneven. Over his shoulder he said,

"I've made up my mind, Harris. I've got to put a stop to this."

Harris rose. "Listen," he said. "Tell me one thing. What makes you so certain you're right? Can you deny that most of it's speculation--hearsay evidence? Remember, I talked to Deirdre, and she was just as sure as you are in the opposite direction. Have you any real reason for what you think?"

Maltzer took his glasses off and rubbed his nose carefully, taking a long time about it. He seemed reluctant to answer. But when he did, at last, there was a confidence in his voice Harris had not expected.

"I have a reason," he said. "But you won't believe it. Nobody would."

"Try me."

Maltzer shook his head. "Nobody could believe it. No two people were ever in quite the same relationship before as Deirdre and I have been. I helped her come back out of complete--oblivion. I knew her before she had voice or hearing. She was only a frantic mind when I first made contact with her, half insane with all that had happened and fear of what would happen next. In a very literal sense she was reborn out of that condition, and I had to guide her through every step of the way. I came to know her thoughts before she thought them. And once you've been that close to another mind, you don't lose the contact easily." He put the glasses back on and looked blurrily at Harris through the heavy lenses. "Deirdre is worried," he said. "I know it. You won't believe me, but I can--well, sense it. I tell you, I've been too close to her very mind itself to make any mistake. You don't see it, maybe. Maybe even she doesn't know it yet. But the worry's there. When I'm with her, I feel it. And I don't want it to come any nearer the surface of her mind than it's come already. I'm going to put a stop to this before it's too late."

Harris had no comment for that. It was too entirely outside his own experience. He said nothing for a moment. Then he asked simply, "How?"

"I'm not sure yet. I've got to decide before she comes back. And I want to see her alone."

"I think you're wrong," Harris told him quietly. "I think you're imagining things. I don't think you can stop her."

Maltzer gave him a slanted glance. "I can stop her," he said, in a curious voice. He went on quickly, "She has enough already--she's nearly human. She can live normally as other people live, without going back on the screen. Maybe this taste of it will be enough. I've got to convince her it is. If she retires now, she'll never guess how cruel her own audiences could be, and maybe that deep sense of--distress, uneasiness, whatever it is--won't come to the surface. It mustn't. She's too fragile to stand that." He slapped his hands together sharply. "I've got to stop her. For her own sake I've got to do it!" He swung round again to face Harris. "Will you go now?"

Never in his life had Harris wanted less to leave a place. Briefly he thought of saying simply, "No I won't." But he had to admit in his own mind that Maltzer was at least partly right. This was a matter between Deirdre and her creator, the culmination, perhaps, of that year's long intimacy so like marriage that this final trial for supremacy was a need he recognized.

He would not, he thought, forbid the showdown if he could. Perhaps the whole year had been building up to this one moment between them in which one or the other must prove himself victor. Neither was very well stable just now, after the long strain of the year past. It might very well be that the mental salvation of one or both hinged upon the outcome of the clash. But because each was so strongly motivated not by selfish concern but by solicitude for the other in this strange combat, Harris knew he must leave them to settle the thing alone.

He was in the street and hailing a taxi before the full significance of something Maltzer had said came to him. "I can stop her," he had declared, with an odd inflection in his voice.

Suddenly Harris felt cold. Maltzer had made her--of course he could stop her if he chose. Was there some key in that supple golden body that could immobilize it at its maker's will? Could she be imprisoned in the cage of her own body? No body before in all history, he thought, could have been designed more truly to be a prison for its mind than Deirdre's, if Maltzer chose to turn the key that locked her in. There must be many ways to do it. He could simply withhold whatever source of nourishment kept her brain alive, if that were the way he chose.

But Harris could not believe he would do it. The man wasn't insane. He would not defeat his own purpose. His determination rose from his solicitude for Deirdre; he would not even in the last extremity try to save her by imprisoning her in the jail of her own skull.

For a moment Harris hesitated on the curb, almost turning back. But what could he do? Even granting that Maltzer would resort to such tactics, self-defeating in their very nature, how could any man on earth prevent him if he did it subtly enough? But he never would. Harris knew he never would. He got into his cab slowly, frowning. He would see them both tomorrow.

He did not. Harris was swamped with excited calls about yesterday's performance, but the message he was awaiting did not come. The day went by very slowly. Toward evening he surrendered and called Maltzer's apartment.

It was Deirdre's face that answered, and for once he saw no remembered features superimposed upon the blankness of her helmet. Masked and faceless, she looked at him inscrutably.

"Is everything all right?" he asked, a little uncomfortable.

"Yes, of course," she said, and her voice was a bit metallic for the first time, as if she were thinking so deeply of some other matter that she did not trouble to pitch it properly. "I had a long talk with Maltzer last night, if that's what you mean. You know what he wants. But nothing's been decided yet."

Harris felt oddly rebuffed by the sudden realization of the metal of her. It was impossible to read anything from face or voice. Each had its mask.

"What are you going to do?" he asked.

"Exactly as I'd planned," she told him, without inflection.

Harris floundered a little. Then, with an effort at practicality, he said, "Do you want me to go to work on bookings, then?"

She shook the delicately modeled skull. "Not yet. You saw the reviews today, of course. They--did like me." It was an understatement, and for the first time a note of warmth sounded in her voice. But the preoccupation was still there, too. "I'd already planned to make them wait awhile after my first performance," she went on. "A couple of weeks, anyhow. You remember that little farm of mine in Jersey, John? I'm going over today. I won't see anyone except the servants there. Not even Maltzer. Not even you. I've got a lot to think about. Maltzer has agreed to let everything go until we've both thought things over. He's taking a rest, too. I'll see you the moment I get back, John. Is that all right?"

She blanked out almost before he had time to nod and while the beginning of a stammered argument was still on his lips. He sat there staring at the screen.

The two weeks that went by before Maltzer called him again were the longest Harris had ever spent. He thought of many things in the interval. He believed he could sense in that last talk with Deirdre something of the inner unrest that Maltzer had spoken of--more an abstraction than a distress, but some thought had occupied her mind which she would not--or was it that she could not?--share even with her closest confidants. He even wondered whether, if her mind was as delicately poised as Maltzer feared, one would ever know whether or not it had slipped. There was so little evidence one way or the other in the unchanging outward form of her.

Most of all he wondered what two weeks in a new environment would do to her untried body and newly patterned brain. If Maltzer were right, then there might be some perceptible--drainage--by the time they met again. He tried not to think of that.

Maltzer televised him on the morning set for her return. He looked very bad. The rest must have been no rest at all. His face was almost a skull now, and the blurred eyes behind their lenses burned. But he seemed curiously at peace, in spite of his appearance. Harris thought he had reached some decision, but whatever it was had not stopped his hands from shaking or the nervous tic that drew his face sidewise into a grimace at intervals.

"Come over," he said briefly, without preamble. "She'll be here in half an hour." And he blanked out without waiting for an answer.

When Harris arrived, he was standing by the window looking down and steadying his trembling hands on the sill.

"I can't stop her," he said in a monotone, and again without preamble. Harris had the impression that for the two weeks his thoughts must have run over and over the same track, until any spoken word was simply a vocal interlude in the circling of his mind. "I couldn't do it. I even tried threats, but she knew I didn't mean them. There's only one way out, Harris." He glanced up briefly, hollow-eyed behind the lenses. "Never mind. I'll tell you later."

"Did you explain everything to her that you did to me?"

"Nearly all. I even taxed her with that... that sense of distress I know she feels. She denied it. She was lying. We both knew. It was worse after the performance than before. When I saw her that night, I tell you I knew--she senses something wrong, but she won't admit it." He shrugged. "Well--"

Faintly in the silence they heard the humming of the elevator descending from the helicopter platform on the roof. Both men turned to the door.

She had not changed at all. Foolishly, Harris was a little surprised. Then he caught himself and remembered that she would never change--never, until she died. He himself might grow white-haired and senile; she would move before him then as she moved now, supple, golden, enigmatic.

Still, he thought she caught her breath a little when she saw Maltzer and the depths of his swift degeneration. She had no breath to catch, but her voice was shaken as she greeted them.

"I'm glad you're both here," she said, a slight hesitation in her speech. "It's a wonderful day outside. Jersey was glorious. I'd forgotten how lovely it is in summer. Was the sanitarium any good, Maltzer?"

He jerked his head irritably and did not answer. She went on talking in a light voice, skimming the surface, saying nothing important.

This time Harris saw her as he supposed her audiences would, eventually, when the surprise had worn off and the image of the living Deirdre faded from memory. She was all metal now, the Deirdre they would know from today on. And she was not less lovely. She was not even less human--yet. Her motion was a miracle of flexible grace, a pouring of suppleness along every limb. (From now on, Harris realized suddenly, it was her body and not her face that would have mobility to express emotion; she must act with her limbs and her lithe, robed torso.)

But there was something wrong. Harris sensed it almost tangibly in her inflections, her elusiveness, the way she fenced with words. This was what Maltzer had meant, this was what Harris himself had felt just before she left for the country. Only now it was strong--certain. Between them and the old Deirdre whose voice still spoke to them a veil of--detachment--had been drawn. Behind it she was in distress. Somehow, somewhere, she had made some discovery that affected her profoundly. And Harris was terribly afraid that he knew what the discovery must be. Maltzer was right.

He was still leaning against the window, staring out unseeingly over the vast panorama of New York, webbed with traffic bridges, winking with sunlit glass, its vertiginous distances plunging downward into the blue shadows of Earth-level. He said now, breaking into the light-voiced chatter, "Are you all right, Deirdre?"

She laughed. It was lovely laughter. She moved lithely across the room, sunlight glinting on her musical mailed robe, and stooped to a cigarette box on a table. Her fingers were deft.

"Have one?" she said, and carried the box to Maltzer. He let her put the brown cylinder between his lips and hold a light to it, but he did not seem to be noticing what he did. She replaced the box and then crossed to a mirror on the far wall and began experimenting with a series of gliding ripples that wove patterns of pale gold in the glass. "Of course I'm all right," she said.

"You're lying."

Deirdre did not turn. She was watching him in the mirror, but the ripple of her motion went on slowly, languorously, undisturbed.

"No," she told them both.

Maltzer drew deeply on his cigarette. Then with a hard pull he un-sealed the window and tossed the smoking stub far out over the gulfs below. He said,

"You can't deceive me, Deirdre." His voice, suddenly, was quite calm. "I created you, my dear. I know. I've sensed that uneasiness in you growing and growing for a long while now. It's much stronger today than it was two weeks ago. Something happened to you in the country. I don't know what it was, but you've changed. Will you admit to yourself what it is, Deirdre? Have you realized yet that you must not go back on the screen?"

"Why, no," said Deirdre, still not looking at him except obliquely, in the glass. Her gestures were slower now, weaving lazy patterns in the air. "No, I haven't changed my mind."

She was all metal--outwardly. She was taking unfair advantage of her own metal-hood. She had withdrawn far within, behind the mask of her voice and her facelessness. Even her body, whose involuntary motions might have betrayed what she was feeling, in the only way she could be subject to betrayal now, she was putting through ritual motions that disguised it completely. As long as these looping, weaving patterns occupied her, no one had any way of guessing even from her motion what went on in the hidden brain inside her helmet.

Harris was struck suddenly and for the first time with the completeness of her withdrawal. When he had seen her last in this apartment she had been wholly Deirdre, not masked at all, overflowing the metal with the warmth and ardor of the woman he had known so well. Since then--since the performance on the stage--he had not seen the familiar Deirdre again. Passionately he wondered why. Had she begun to suspect even in her moment of triumph what a fickle master an audience could be? Had she caught, perhaps, the sound of whispers and laughter among some small portion of her watchers, though the great majority praised her?

Or was Maltzer right? Perhaps Harris' first interview with her had been the last bright burning of the lost Deirdre, animated by excitement and the pleasure of meeting after so long a time, animation summoned up in a last strong effort to convince him. Now she was gone, but whether in self-protection against the possible cruelties of human beings, or whether in withdrawal to metal-hood, he could not guess. Humanity might be draining out of her fast, and the brassy taint of metal permeating the brain it housed.

Maltzer laid his trembling hand on the edge of the opened window and looked out. He said in a deepened voice, the querulous note gone for the first time:

"I've made a terrible mistake, Deirdre. I've done you irreparable harm." He paused a moment, but Deirdre said nothing. Harris dared not speak. In a moment Maltzer went on. "I've made you vulnerable, and given you no weapons to fight your enemies with. And the human race is your enemy, my dear, whether you admit it now or later. I think you know that. I think it's why you're so silent. I think you must have suspected it on the stage two weeks ago, and verified it in Jersey while you were gone. They're going to hate you, after a while, because you are still beautiful, and they're going to persecute you because you are different--and helpless. Once the novelty wears off, my dear, your audience will be simply a mob."

He was not looking at her. He had bent forward a little, looking out the window and down. His hair stirred in the wind that blew very strongly up this high, and whined thinly around the open edge of the glass.

"I meant what I did for you," he said, "to be for everyone who meets with accidents that might have ruined them. I should have known my gift would mean worse ruin than any mutilation could be. I know now that there's only one legitimate way a human being can create life. When he tries another way, as I did, he has a lesson to learn. Remember the lesson of the student Frankenstein? He learned, too. In a way, he was lucky--the way he learned. He didn't have to watch what happened afterward. Maybe he wouldn't have had the courage--I know I haven't."

Harris found himself standing without remembering that he rose. He knew suddenly what was about to happen. He understood Maltzer's air of resolution, his new, unnatural calm. He knew, even, why Maltzer had asked him here today, so that Deirdre might not be left alone. For he remembered that Frankenstein, too, had paid with his life for the unlawful creation of life.

Maltzer was leaning head and shoulders from the window now, looking down with almost hypnotized fascination. His voice came back to them remotely in the breeze, as if a barrier already lay between them.

Deirdre had not moved. Her expressionless mask, in the mirror, watched him calmly. She must have understood. Yet she gave no sign, except that the weaving of her arms had almost stopped now, she moved so slowly. Like a dance seen in a nightmare, under water.

It was impossible, of course, for her to express any emotion. The fact that her face showed none now should not, in fairness, be held against her. But she watched so wholly without feeling-- Neither of them moved toward the window. A false step, now, might send him over. They were quiet, listening to his voice.

"We who bring life into the world unlawfully," said Maltzer, almost thoughtfully, "must make room for it by withdrawing our own. That seems to be an inflexible rule. It works automatically. The thing we create makes living unbearable. No, it's nothing you can help, my dear. I've asked you to do something I created you incapable of doing. I made you to perform a function, and I've been asking you to forego the one thing you were made to do. I believe that if you do it, it will destroy you, but the whole guilt is mine, not yours. I'm not even asking you to give up the screen, any more. I know you can't, and live. But I can't live and watch you. I put all my skill and all my love in one final masterpiece, and I can't bear to watch it destroyed. I can't live and watch you do only what I made you to do, and ruin yourself because you must do it.

"But before I go, I have to make sure you understand." He leaned a little farther, looking down, and his voice grew more remote as the glass came between them. He was saying almost unbearable things now, but very distantly, in a cool, passionless tone filtered through wind and glass, and with the distant humming of the city mingled with it, so that the words were curiously robbed of poignancy. "I can be a coward," he said, "and escape the consequences of what I've done, but I can't go and leave you--not understanding. It would be even worse than the thought of your failure, to think of you bewildered and confused when the mob turns on you. What I'm telling you, my dear, won't be any real news--I think you sense it already, though you may not admit it to yourself. We've been too close to lie to each other, Deirdre--I know when you aren't telling the truth. I know the distress that's been growing in your mind. You are not wholly human, my dear. I think you know that. In so many ways, in spite of all I could do, you must always be less than human. You've lost the senses of perception that kept you in touch with humanity. Sight and hearing are all that remain, and sight, as I've said before, was the last and coldest of the senses to develop. And you're so delicately poised on a sort of thin edge of reason. You're only a clear, glowing mind animating a metal body, like a candle flame in a glass. And as precariously vulnerable to the wind."

He paused. "Try not to let them ruin you completely," he said after a while. "When they turn against you, when they find out you're more helpless than they--I wish I could have made you stronger, Deirdre. But I couldn't. I had too much skill for your good and mine, but not quite enough skill for that."

He was silent again, briefly, looking down. He was balanced precariously now, more than halfway over the sill and supported only by one hand on the glass. Harris watched with an agonized uncertainty, not sure whether a sudden leap might catch him in time or send him over. Deirdre was still weaving her golden patterns, slowly and unchangingly, watching the mirror and its reflection, her face and masked eyes enigmatic.

"I wish one thing, though," Maltzer said in his remote voice. "I wish--before I finish--that you'd tell me the truth, Deirdre. I'd be happier if I were sure I'd--reached you. Do you understand what I've said? Do you believe me? Because if you don't, then I know you're lost beyond all hope. If you'll admit your own doubt--and I know you do doubt--I can think there may be a chance for you after all. Were you lying to me, Deirdre? Do you know how... how wrong I've made you?"

There was silence. Then very softly, a breath of sound, Deirdre answered. The voice seemed to hang in midair, because she had no lips to move and localize it for the imagination.

"Will you listen, Maltzer?" she asked.

"I'll wait," he said. "Go on. Yes or no?"

Slowly she let her arms drop to her sides. Very smoothly and quietly she turned from the mirror and faced him. She swayed a little, making her metal robe ring.

"I'll answer you," she said. "But I don't think I'll answer that. Not with yes or no, anyhow. I'm going to walk a little, Maltzer. I have something to tell you, and I can't talk standing still. Will you let me move about without--going over?"

He nodded distantly. "You can't interfere from that distance," he said. "But keep the distance. What do you want to say?"

She began to pace a little way up and down her end of the room, moving with liquid ease. The table with the cigarette box was in her way, and she pushed it aside carefully, watching Maltzer and making no swift motions to startle him.

"I'm not--well, sub-human," she said, a faint note of indignation in her voice. "I'll prove it in a minute, but I want to say something else first. You must promise to wait and listen. There's a flaw in your argument, and I resent it. I'm not a Frankenstein monster made out of dead flesh. I'm myself--alive. You didn't create my life, you only preserved it. I'm not a robot, with compulsions built into me that I have to obey. I'm free-willed and independent, and, Maltzer--I'm human."

Harris had relaxed a little. She knew what she was doing. He had no idea what she planned, but he was willing to wait now. She was not the indifferent automaton he had thought. He watched her come to the table again in a lap of her pacing, and stoop over it, her eyeless mask turned to Maltzer to make sure variation of her movement did not startle him.

"I'm human," she repeated, her voice humming faintly and very sweetly. "Do you think I'm not?" she asked, straightening and facing them both. And then suddenly, almost overwhelmingly, the warmth and the old ardent charm were radiant all around her. She was robot no longer, enigmatic no longer. Harris could see as clearly as in their first meeting the remembered flesh still gracious and beautiful as her voice evoked his memory. She stood swaying a little, as she had always swayed, her head on one side, and she was chuckling at them both. It was such a soft and lovely sound, so warmly familiar.

"Of course I'm myself," she told them, and as the words sounded in their ears neither of them could doubt it. There was hypnosis in her voice. She turned away and began to pace again, and so powerful was the human personality which she had called up about her that it beat out at them in deep pulses, as if her body were a furnace to send out those comforting waves of warmth. "I have handicaps, I know," she said. "But my audiences will never know. I won't let them know. I think you'll believe me, both of you, when I say I could play Juliet just as I am now, with a cast of ordinary people, and make the world accept it. Do you think I could, John? Maltzer, don't you believe I could?"

She paused at the far end of her pacing path and turned to face them, and they both stared at her without speaking. To Harris she was the Deirdre he had always known, pale gold, exquisitely graceful in remembered postures, the inner radiance of her shining through metal as brilliantly as it had ever shone through flesh. He did not wonder, now, if it were real. Later he would think again that it might be only a disguise, something like a garment she had put off with her lost body, to wear again only when she chose. Now the spell of her compelling charm was too strong for wonder. He watched, convinced for the moment that she was all she seemed to be. She could play Juliet if she said she could. She could sway a whole audience as easily as she swayed himself. Indeed, there was something about her just now more convincingly human than anything he had noticed before. He realized that in a split second of awareness before he saw what it was.

She was looking at Maltzer. He, too, watched, spellbound in spite of himself, not dissenting. She glanced from one to the other. Then she put back her head and laughter came welling and choking from her in a great, full-throated tide. She shook in the strength of it. Harris could almost see her round throat pulsing with the sweet low-pitched waves of laughter that were shaking her. Honest mirth, with a little derision in it.

Then she lifted one arm and tossed her cigarette into the empty fireplace.

Harris choked, and his mind went blank for one moment of blind denial. He had not sat here watching a robot smoke and accepting it as normal. He could not! And yet he had. That had been the final touch of conviction which swayed his hypnotized mind into accepting her humanity. And she had done it so deftly, so naturally, wearing her radiant humanity with such rightness, that his watching mind had not even questioned what she did.

He glanced at Maltzer. The man was still halfway over the window ledge, but through the opening of the window he, too, was staring in stupefied disbelief and Harris knew they had shared the same delusion.

Deirdre was still shaking a little with laughter. "Well," she demanded, the rich chuckling making her voice quiver, "am I all robot, after all?"

Harris opened his mouth to speak, but he did not utter a word. This was not his show. The byplay lay wholly between Deirdre and Maltzer; he must not interfere. He turned his head to the window and waited.

And Maltzer for a moment seemed shaken in his conviction.

"You... you are an actress," he admitted slowly. "But I... I'm not convinced I'm wrong. I think--" He paused. The querulous note was in his voice again, and he seemed racked once more by the old doubts and dismay. Then Harris saw him stiffen. He saw the resolution come back, and understood why it had come. Maltzer had gone too far already upon the cold and lonely path he had chosen to turn back, even for stronger evidence than this. He had reached his conclusions only after mental turmoil too terrible to face again. Safety and peace lay in the course he had steeled himself to follow. He was too tired, too exhausted by months of conflict, to retrace his path and begin all over. Harris could see him groping for a way out, and in a moment he saw him find it.

"That was a trick," he said hollowly. "Maybe you could play it on a larger audience, too. Maybe you have more tricks to use. I might be wrong. But Deirdre"--his voice grew urgent--"you haven't answered the one thing I've got to know. You can't answer it. You do feel--dismay. You've learned your own inadequacy, however well you can hide it from us--even from us. I know. Can you deny that, Deirdre?"

She was not laughing now. She let her arms fall, and the flexible golden body seemed to droop a little all over, as if the brain that a moment before had been sending out strong, sure waves of confidence had slackened its power, and the intangible muscles of her limbs slackened with it. Some of the glowing humanity began to fade. It receded within her and was gone, as if the fire in the furnace of her body were sinking and cooling.

"Maltzer," she said uncertainly, "I can't answer that--yet. I can't--"

And then, while they waited in anxiety for her to finish the sentence, she blazed. She ceased to be a figure in stasis--she blazed.

It was something no eyes could watch and translate into terms the brain could follow; her motion was too swift. Maltzer in the window was a whole long room-length away. He had thought himself safe at such a distance, knowing no normal human being could reach him before he moved. But Deirdre was neither normal nor human.

In the same instant she stood drooping by the mirror she was simultaneously at Maltzer's side. Her motion negated time and destroyed space. And as a glowing cigarette tip in the dark describes closed circles before the eye when the holder moves it swiftly, so Deirdre blazed in one continuous flash of golden motion across the room.

But curiously, she was not blurred. Harris, watching, felt his mind go blank again, but less in surprise than because no normal eyes and brain could perceive what it was he looked at.

(In that moment of intolerable suspense his complex human brain paused suddenly, annihilating time in its own way, and withdrew to a cool corner of its own to analyze in a flashing second what it was he had just seen. The brain could do it timelessly; words are slow. But he knew he had watched a sort of tesseract of human motion, a parable of fourth-dimensional activity. A one-dimensional point, moved through space, creates a two-dimensional line, which in motion creates a three-dimensional cube. Theoretically the cube, in motion, would produce a fourth-dimensional figure. No human creature had ever seen a figure of three dimensions moved through space and time before--until this moment. She had not blurred; every motion she made was distinct, but not like moving figures on a strip of film. Not like anything that those who use our language had ever seen before, or created words to express. The mind saw, but without perceiving. Neither words nor thoughts could resolve what happened into terms for human brains. And perhaps she had not actually and literally moved through the fourth dimension. Perhaps--since Harris was able to see her--it had been almost and not quite that unimaginable thing. But it was close enough.)

While to the slow mind's eye she was still standing at the far end of the room, she was already at Maltzer's side, her long, flexible fingers gentle but very firm upon his arms. She waited-- The room shimmered. There was sudden violent heat beating upon Harris' face. Then the air steadied again and Deirdre was saying softly, in a mournful whisper:

"I'm sorry--I had to do it. I'm sorry--I didn't mean you to know--"

Time caught up with Harris. He saw it overtake Maltzer too, saw the man jerk convulsively away from the grasping hands, in a ludicrously futile effort to forestall what had already happened. Even thought was slow, compared with Deirdre's swiftness.

The sharp outward jerk was strong. It was strong enough to break the grasp of human hands and catapult Maltzer out and down into the swimming gulfs of New York. The mind leaped ahead to a logical conclusion and saw him twisting and turning and diminishing with dreadful rapidity to a tiny point of darkness that dropped away through sunlight toward the shadows near the earth. The mind even conjured up a shrill, thin cry that plummeted away with the falling body and hung behind it in the shaken air.

But the mind was reckoning on human factors.

Very gently and smoothly Deirdre lifted Maltzer from the window sill and with effortless ease carried him well back into the safety of the room. She set him down before a sofa and her golden fingers unwrapped themselves from his arms slowly, so that he could regain control of his own body before she released him.

He sank to the sofa without a word. Nobody spoke for an un-measurable length of time. Harris could not. Deirdre waited patiently. It was Maltzer who regained speech first, and it came back on the old track, as if his mind had not yet relinquished the rut it had worn so deep.

"All right," he said breathlessly. "All right, you can stop me this time. But I know, you see. I know! You can't hide your feeling from me, Deirdre. I know the trouble you feel. And next time--next time I won't wait to talk!"

Deirdre made the sound of a sigh. She had no lungs to expel the breath she was imitating, but it was hard to realize that. It was hard to understand why she was not panting heavily from the terrible exertion of the past minutes; the mind knew why, but could not accept the reason. She was still too human.

"You still don't see," she said. "Think, Maltzer, think!"

There was a hassock beside the sofa. She sank upon it gracefully, clasping her robed knees. Her head tilted back to watch Maltzer's face. She saw only stunned stupidity on it now; he had passed through too much emotional storm to think at all.

"All right," she told him. "Listen--I'll admit it. You're right. I am unhappy. I do know what you said was true--but not for the reason you think. Humanity and I are far apart, and drawing farther. The gap will be hard to bridge. Do you hear me, Maltzer?"

Harris saw the tremendous effort that went into Maltzer's wakening. He saw the man pull his mind back into focus and sit up on the sofa with weary stiffness.

"You... you do admit it, then?" he asked in a bewildered voice.

Deirdre shook her head sharply.

"Do you still think of me as delicate?" she demanded. "Do you know I carried you here at arm's length halfway across the room? Do you realize you weigh nothing to me? I could"--she glanced around the room and gestured with sudden, rather appalling violence--"tear this building down," she said quietly. "I could tear my way through these walls, I think. I've found no limit yet to the strength I can put forth if I try." She held up her golden hands and looked at them. "The metal would break, perhaps," she said reflectively, "but then, I have no feeling--"

Maltzer gasped, "Deirdre--"

She looked up with what must have been a smile. It sounded clearly in her voice. "Oh, I won't. I wouldn't have to do it with my hands, if I wanted. Look--listen!"

She put her head back and a deep, vibrating hum gathered and grew in what one still thought of as her throat. It deepened swiftly and the ears began to ring. It was deeper, and the furniture vibrated. The walls began almost imperceptibly to shake. The room was full and bursting with a sound that shook every atom upon its neighbor with a terrible, disrupting force.

The sound ceased. The humming died. Then Deirdre laughed and made another and quite differently pitched sound. It seemed to reach out like an arm in one straight direction--toward the window. The opened panel shook. Deirdre intensified her hum, and slowly, with imperceptible jolts that merged into smoothness, the window jarred itself shut.

"You see?" Deirdre said. "You see?"

But still Maltzer could only stare. Harris was staring too, his mind beginning slowly to accept what she implied. Both were too stunned to leap ahead to any conclusions yet.

Deirdre rose impatiently and began to pace again, in a ringing of metal robe and a twinkling of reflected lights. She was pantherlike in her suppleness. They could see the power behind that lithe motion now; they no longer thought of her as helpless, but they were far still from grasping the truth.

"You were wrong about me, Maltzer," she said with an effort at patience in her voice. "But you were right too, in a way you didn't guess. I'm not afraid of humanity. I haven't anything to fear from them. Why"--her voice took on a tinge of contempt--"already I've set a fashion in women's clothing. By next week you won't see a woman on the street without a mask like mine, and every dress that isn't cut like a chlamys will be out of style. I'm not afraid of humanity! I won't lose touch with them unless I want to. I've learned a lot--I've learned too much already."

Her voice faded for a moment, and Harris had a quick and appalling vision of her experimenting in the solitude of her farm, testing the range of her voice, testing her eyesight--could she see microscopically and telescopically?--and was her hearing as abnormally flexible as her voice?

"You were afraid I had lost feeling and scent and taste," she went on, still pacing with that powerful, tigerish tread. "Hearing and sight would not be enough, you think? But why do you think sight is the last of the senses? It may be the latest, Maltzer--Harris--but why do you think it's the last?"

She may not have whispered that. Perhaps it was only their hearing that made it seem thin and distant, as the brain contracted and would not let the thought come through in its stunning entirety.

"No," Deirdre said, "I haven't lost contact with the human race. I never will, unless I want to. It's too easy... too easy."

She was watching her shining feet as she paced, and her masked face was averted. Sorrow sounded in her soft voice now.

"I didn't mean to let you know," she said. "I never would have, if this hadn't happened. But I couldn't let you go believing you'd failed. You made a perfect machine, Maltzer. More perfect than you knew."

"But Deirdre--" breathed Maltzer, his eyes fascinated and still incredulous upon her, "but Deirdre, if we did succeed--what's wrong? I can feel it now--I've felt it all along. You're so unhappy--you still are. Why, Deirdre?"

She lifted her head and looked at him, eyelessly, but with a piercing stare.

"Why are you so sure of that?" she asked gently.

"You think I could be mistaken, knowing you as I do? But I'm not Frankenstein... you say my creation's flawless. Then what--"

"Could you ever duplicate this body?" she asked.

Maltzer glanced down at his shaking hands. "I don't know. I doubt it. I--"

"Could anyone else?"

He was silent. Deirdre answered for him. "I don't believe anyone could. I think I was an accident. A sort of mutation halfway between flesh and metal. Something accidental and... and unnatural, turning off on a wrong course of evolution that never reaches a dead end. Another brain in a body like this might die or go mad, as you thought I would. The synapses are too delicate. You were--call it lucky--with me. From what I know now, I don't think a... a baroque like me could happen again." She paused a moment. "What you did was kindle the fire for the Phoenix, in a way. And the Phoenix rises perfect and renewed from its own ashes. Do you remember why it had to reproduce itself that way?"

Maltzer shook his head.

"I'll tell you," she said. "It was because there was only one Phoenix. Only one in the whole world."

They looked at each other in silence. Then Deirdre shrugged a little.

"He always came out of the fire perfect, of course. I'm not weak, Maltzer. You needn't let that thought bother you any more. I'm not vulnerable and helpless. I'm not sub-human." She laughed dryly. "I suppose," she said, "that I'm--superhuman."

"But--not happy."

"I'm afraid. It isn't unhappiness, Maltzer--it's fear. I don't want to draw so far away from the human race. I wish I needn't. That's why I'm going back on the stage--to keep in touch with them while I can. But I wish there could be others like me. I'm... I'm lonely, Maltzer."

Silence again. Then Maltzer said, in a voice as distant as when he had spoken to them through glass, over gulfs as deep as oblivion:

"Then I am Frankenstein, after all."

"Perhaps you are," Deirdre said very softly. "I don't know. Perhaps you are."

She turned away and moved smoothly, powerfully, down the room to the window. Now that Harris knew, he could almost hear the sheer power purring along her limbs as she walked. She leaned the golden forehead against the glass--it clinked faintly, with a musical sound--and looked down into the depths Maltzer had hung above. Her voice was reflective as she looked into those dizzy spaces which had offered oblivion to her creator.

"There's one limit I can think of," she said, almost inaudibly. "Only one. My brain will wear out in another forty years or so. Between now and then I'll learn... I'll change... I'll know more than I can guess today. I'll change-- That's frightening. I don't like to think about that." She laid a curved golden hand on the latch and pushed the window open a little, very easily. Wind whined around its edge. "I could put a stop to it now, if I wanted," she said. "If I wanted. But I can't, really. There's so much still untried. My brain's human, and no human brain could leave such possibilities untested. I wonder, though... I do wonder--"

Her voice was soft and familiar in Harris' ears, the voice Deirdre had spoken and sung with, sweetly enough to enchant a world. But as preoccupation came over her a certain flatness crept into the sound. When she was not listening to her own voice, it did not keep quite to the pitch of trueness. It sounded as if she spoke in a room of brass, and echoes from the walls resounded in the tones that spoke there.

"I wonder," she repeated, the distant taint of metal already in her voice.